Published in close collaboration with Lewis Baltz, this photo monograph reproduces the defining photographic series of the New Topographics movement: The Tract Houses (1969–71), Maryland (1976), Nevada (1977), Park City (1978–80), San Quentin Point (1981–83), The Canadian Series (1985), Candlestick Point (1987–89), and Sites of Technology (1989–91).

Lewis Baltz

A protagonist of the New Topographics movement, Lewis Baltz (born 1945) not only revived American landscape photography, but also revolutionized the photographic pictorial language of the 1970s. His black-and-white images of industrial landscapes, dreary suburban neighborhoods and wastelands introduced radically new motifs, which were debuted in the now legendary 1975 exhibition The New Topographics alongside the work of Robert Adams, Stephen Shore and Henry Wessel, Jr. Made in close collaboration with Lewis Baltz, this volume reproduces such series as The Tract Houses (1969–71), Maryland (1976), Nevada (1977), Park City (1978–80), San Quentin Point (1981–83), The Canadian Series (1985), Candlestick Point (1987–89), Sites of Technology (1989–91) and several others. Essays contextualize Baltz’s work in the larger art and photography climate of the 1970s, and discuss his application of cinematic strategies to photography.

A protagonist of the New Topographics movement, Lewis Baltz (born 1945) not only revived American landscape photography, but also revolutionized the photographic pictorial language of the 1970s. His black-and-white images of industrial landscapes, dreary suburban neighborhoods and wastelands introduced radically new motifs, which were debuted in the now legendary 1975 exhibition The New Topographics alongside the work of Robert Adams, Stephen Shore and Henry Wessel, Jr. Made in close collaboration with Lewis Baltz, this volume reproduces such series as The Tract Houses (1969–71), Maryland (1976), Nevada (1977), Park City (1978–80), San Quentin Point (1981–83), The Canadian Series (1985), Candlestick Point (1987–89), Sites of Technology (1989–91) and several others. Essays contextualize Baltz’s work in the larger art and photography climate of the 1970s, and discuss his application of cinematic strategies to photography.